Deborah Allison | De Montfort University (original) (raw)
Books by Deborah Allison
Film Title Sequences: A Critical Anthology, 2021
Since the days of silent cinema, opening title sequences have provided audiences with far more th... more Since the days of silent cinema, opening title sequences have provided audiences with far more than just a list of names. Their designers—whether anonymous studio employees or world-renowned artists such as Saul Bass and Maurice Binder—have found countless ways to captivate and entertain us while the credits unfurl. Featuring all the creative devices at the filmmakers’ disposal, these introductions serve to whet our appetite for the films ahead while helping to shape our viewing expectations in crucial ways.
This anthology brings together 18 years of publications by Deborah Allison, who was one of the first scholars to conduct extensive research into the history of American film title sequences. Topics covered include the main functions of opening title sequences; an historical survey of key design trends in American film titling; aesthetic responses to the advent of widescreen cinema; theme songs and generic iconography in Westerns; novelty title sequences and self-reflexivity; cartoons and caricatures of cast and crew; and retro title sequences. The collection also features a new and exclusive essay about title sequence design in the twenty-first century.
The Phoenix is one of only a handful of British cinemas to have remained active for the past 100 ... more The Phoenix is one of only a handful of British cinemas to have remained active for the past 100 years. This is the story of Oxford’s oldest continuously operating cinema, as told by its staff and customers. Featuring first-hand reminiscences dating back to the days of silent movies, and illustrated with a fabulous collection of over 100 images, many of which have never appeared in print until now, 'The Phoenix Picturehouse' presents a wide-ranging account of a popular local institution whose changing fortunes exemplify a century of British cinema and cinemagoing history.
Acclaimed British director Michael Winterbottom is renowned for the abundance and diversity of hi... more Acclaimed British director Michael Winterbottom is renowned for the abundance and diversity of his output. His films span a wide range of genres in art house and mainstream cinema alike, from the heritage film to neo-noir. Working with different genres gives Winterbottom a framework in which to explore favored themes, while incorporating new ideas and taking on new challenges. At the same time, his manner of undermining familiar generic qualities and frustrating audience expectations also refreshes the genres he explores. In 'The Cinema of Michael Winterbottom,' Deborah Allison investigates Winterbottom’s contributions to contemporary cinema, using ideas of genre as a critical tool. Focusing on eight films, Allison examines the ways he adopts, inflects, and challenges the main attributes of the films’ associated genres, enriching a highly personal and idiosyncratic style of filmmaking. The potency and integrity of his authorship unites films as generically diverse as the road movie 'Butterfly Kiss,' western drama 'The Claim,' sci-fi romance 'Code 46,' and docudrama 'The Road to Guantanamo.'
“Deborah Allison has grasped [Winterbottom’s] distinctive modus operandi, which no other filmmaker would dare imitate, or could afford to. Her tour of Winterbottom’s glorious ups and occasional downs, a mid-career assessment, confirms Winterbottom’s place as the most versatile and prolific director of his generation. The reader can decide whether Winterbottom’s determination to take on so many varied challenges is courageous or crazy, or both.” (David D'Arcy, Screen International)
Edited Collection by Deborah Allison
Picturehouse Publications, Nov 2017
This booklet was produced to accompany the season THE ENCHANTED SCREEN: PICTUREHOUSE PRESENTS A S... more This booklet was produced to accompany the season THE ENCHANTED SCREEN: PICTUREHOUSE PRESENTS A SEASON OF FOLK AND FAIRYTALE FILMS showing across all Picturehouse cinemas in November and December 2017.
CONTENTS:
Introduction – Deborah Allison
Snow White and the Seven Dwarfs – Vic Pratt
La Belle et la Bete – Deborah Allison
The Red Shoes – Kiri Bloom Walden
The Singing Ringing Tree – Deborah Allison
Utopian Dreams/Wishful Thinking – Marina Warner
The Magic Flute – Deborah Allison
The Company of Wolves – Jane Giles
The Box of Delights – Deborah Allison
Labyrinth – Ian Bird
Edward Scissorhands – Brian Ray
Pan’s Labyrinth – Rob Daniel
The Tale of the Princess Kaguya – Rayna Denison
Tale of Tales – Rob Daniel
Royal Opera House Live: The Nutcracker – Jessica Brown
Gingerella (RockaFela) – Jo Blair
CREDITS:
Editor: Deborah Allison
Design: Richard Stow & Paul Stapleton
Project Manager: Jo Blair
Journal Articles by Deborah Allison
Screen, 2023
Between 1929 and 1956, the American film industry produced 231 sound serials, of which around a t... more Between 1929 and 1956, the American film industry produced 231 sound serials, of which around a third were edited into simultaneous or later feature versions, designed variously for theatrical exhibition, television, or home video. Despite the prominence of this practice, and an upsurge in scholarship addressing sound serials’ narrational rhetoric, editorial techniques, audience demographics, and contemporary reception, featurizations remain on the margins of popular and scholarly discourses alike.
Seeking to redress this neglect, I begin with an industrial overview of sound serial featurization, which has not been well-mapped to date, to give context to three case studies that constitute the main body of the essay. These are: The Return of Chandu (1934) and Chandu on the Magic Island (1934), both adapted from the serial The Return of Chandu (Ray Taylor, Principal, 1934), and Shadow of Chinatown (Bob Hill, Victory, 1937), adapted from the 1936 serial of the same name.
Building on recent scholarly scrutiny of the differences between sound serial and ‘classical’ feature narration, distribution, and consumption, I examine featurizations as a film form in which contrasting characteristics of serials and features must somehow be reconciled. Each case study includes a short account of production and promotion, showing how these features were positioned in relation to their associated serials, followed by textual analyses of the serials’ adaptation to feature format. In the process, I question how far the classical paradigm is an appropriate benchmark against which to measure sound serials’ deviations from feature filmmaking norms.
JCMS: Journal of Cinema and Media Studies, 2023
American sound serial chapter endings frequently placed the protagonist(s) in mortal peril before... more American sound serial chapter endings frequently placed the protagonist(s) in mortal peril before the following week's installment would reveal how they evaded seemingly certain death. Frequently relying on audience memory lapse, these solutions, or "take-outs," did not always play fair. Drawing on a 20 percent sample of golden age serials (1936-1945), I analyze the narrational methods and reliability of cliff hangers and their take-outs. I propose that there are three key strategies, which I term sequential, augmented, and incompatible. I show how these categories move progressively further from the cliff hanger's nineteenth-century literary precedents and from conventions of classical Hollywood narration alike.
Journal of Film and Video, 2022
As war loomed in Europe, two big-budget allegorical fantasies offered American and Soviet viewers... more As war loomed in Europe, two big-budget allegorical fantasies offered American and Soviet viewers contrasting perspectives on home and abroad, ambition and duty, and the legitimacy of personal goals as their young protagonists pursued hazardous journeys of discovery in foreign lands. In accordance with their respective national ideologies and regulatory mechanisms, each sought to shape audience attitudes in morally and politically desirable ways. Changes wrought to their fairy-tale source material during the process of adaptation reinforced tenets of the dominant national cinema, culture, and philosophy of their day—reassuring their domestic audiences that there really is ‘no place like home(land)’.
Studies in Russian and Soviet Cinema, 2021
Film International, 2020
Published in Film International, vol. 18, no. 1, March 2020, pp. 82-88
Published in Film International, vol. 13, no. 4 (2015), pp. 6-19.
Published in Literature Film Quarterly, vol. 44, no. 1, January 2016, pp. 5-18.
Published in Film International (online edition), 30 January 2011.
Published in Schnitt, issue 55 (2009), pp. 8-11.
Quarterly Review of Film and Video, Jan 1, 2008
This essay explores some of the ways that analyzing opening titles can help us to understand the ... more This essay explores some of the ways that analyzing opening titles can help us to understand the processes by which filmmakers forge an implicit contract with their audiences. In order to do so, it makes use of a detailed case study of title sequences in the ...
Film International, Jan 1, 2007
Film International, Jan 1, 2007
Page 1. FeatureInterview www.filmint.nu | 35 Stephen Frears Master of hi-lo culture Keywords: Ste... more Page 1. FeatureInterview www.filmint.nu | 35 Stephen Frears Master of hi-lo culture Keywords: Stephen Frears, authorship, British cinema, culture, film style, narration STEPHEN FREARS, as a director is something of a paradox. ...
journal.media-culture.org.au
Based on the profusion of scholarly and populist analysis of the relationship between books and f... more Based on the profusion of scholarly and populist analysis of the relationship between books and films one could easily be forgiven for thinking that the exchange between the two media was a decidedly one-way affair. Countless words have been expended upon the subject of literary adaptation, in which the process of transforming stories and novels into cinematic or televisual form has been examined in ways both general and particular. A relationship far less well-documented though is that between popular novels and the films that have spawned them. With the notable exception of Randall D. Larson's valuable Films into Books, which is centred mainly on correspondence with prolific writers of "novelisations", academic study of this extremely widespread phenomenon has been almost non-existent. Even Linda Hutcheon's admirable recent publication, A Theory of Adaptation, makes scant mention of novelisations, in spite of her claim that this flourishing industry "cannot be ignored" (38).
Screening the past, Jan 1, 2006
There were things that could be done with film, it was crazy not to do them.
Screen, Jan 1, 2006
What determines the selection of films that end up on the screens of UK multiplexes? Time and aga... more What determines the selection of films that end up on the screens of UK multiplexes? Time and again, cinema-goers question why so many venues all show the same thing, despite a low average seat occupancy, whilst other movies struggle to find a place on UK screens. The answer lies less in the range of films that are produced than in the business practices of the distribution and exhibition sectors. These practices have received far less public scrutiny than those of the production sector, yet they are critical in shaping the choice of films available for public consumption.
Film Title Sequences: A Critical Anthology, 2021
Since the days of silent cinema, opening title sequences have provided audiences with far more th... more Since the days of silent cinema, opening title sequences have provided audiences with far more than just a list of names. Their designers—whether anonymous studio employees or world-renowned artists such as Saul Bass and Maurice Binder—have found countless ways to captivate and entertain us while the credits unfurl. Featuring all the creative devices at the filmmakers’ disposal, these introductions serve to whet our appetite for the films ahead while helping to shape our viewing expectations in crucial ways.
This anthology brings together 18 years of publications by Deborah Allison, who was one of the first scholars to conduct extensive research into the history of American film title sequences. Topics covered include the main functions of opening title sequences; an historical survey of key design trends in American film titling; aesthetic responses to the advent of widescreen cinema; theme songs and generic iconography in Westerns; novelty title sequences and self-reflexivity; cartoons and caricatures of cast and crew; and retro title sequences. The collection also features a new and exclusive essay about title sequence design in the twenty-first century.
The Phoenix is one of only a handful of British cinemas to have remained active for the past 100 ... more The Phoenix is one of only a handful of British cinemas to have remained active for the past 100 years. This is the story of Oxford’s oldest continuously operating cinema, as told by its staff and customers. Featuring first-hand reminiscences dating back to the days of silent movies, and illustrated with a fabulous collection of over 100 images, many of which have never appeared in print until now, 'The Phoenix Picturehouse' presents a wide-ranging account of a popular local institution whose changing fortunes exemplify a century of British cinema and cinemagoing history.
Acclaimed British director Michael Winterbottom is renowned for the abundance and diversity of hi... more Acclaimed British director Michael Winterbottom is renowned for the abundance and diversity of his output. His films span a wide range of genres in art house and mainstream cinema alike, from the heritage film to neo-noir. Working with different genres gives Winterbottom a framework in which to explore favored themes, while incorporating new ideas and taking on new challenges. At the same time, his manner of undermining familiar generic qualities and frustrating audience expectations also refreshes the genres he explores. In 'The Cinema of Michael Winterbottom,' Deborah Allison investigates Winterbottom’s contributions to contemporary cinema, using ideas of genre as a critical tool. Focusing on eight films, Allison examines the ways he adopts, inflects, and challenges the main attributes of the films’ associated genres, enriching a highly personal and idiosyncratic style of filmmaking. The potency and integrity of his authorship unites films as generically diverse as the road movie 'Butterfly Kiss,' western drama 'The Claim,' sci-fi romance 'Code 46,' and docudrama 'The Road to Guantanamo.'
“Deborah Allison has grasped [Winterbottom’s] distinctive modus operandi, which no other filmmaker would dare imitate, or could afford to. Her tour of Winterbottom’s glorious ups and occasional downs, a mid-career assessment, confirms Winterbottom’s place as the most versatile and prolific director of his generation. The reader can decide whether Winterbottom’s determination to take on so many varied challenges is courageous or crazy, or both.” (David D'Arcy, Screen International)
Picturehouse Publications, Nov 2017
This booklet was produced to accompany the season THE ENCHANTED SCREEN: PICTUREHOUSE PRESENTS A S... more This booklet was produced to accompany the season THE ENCHANTED SCREEN: PICTUREHOUSE PRESENTS A SEASON OF FOLK AND FAIRYTALE FILMS showing across all Picturehouse cinemas in November and December 2017.
CONTENTS:
Introduction – Deborah Allison
Snow White and the Seven Dwarfs – Vic Pratt
La Belle et la Bete – Deborah Allison
The Red Shoes – Kiri Bloom Walden
The Singing Ringing Tree – Deborah Allison
Utopian Dreams/Wishful Thinking – Marina Warner
The Magic Flute – Deborah Allison
The Company of Wolves – Jane Giles
The Box of Delights – Deborah Allison
Labyrinth – Ian Bird
Edward Scissorhands – Brian Ray
Pan’s Labyrinth – Rob Daniel
The Tale of the Princess Kaguya – Rayna Denison
Tale of Tales – Rob Daniel
Royal Opera House Live: The Nutcracker – Jessica Brown
Gingerella (RockaFela) – Jo Blair
CREDITS:
Editor: Deborah Allison
Design: Richard Stow & Paul Stapleton
Project Manager: Jo Blair
Screen, 2023
Between 1929 and 1956, the American film industry produced 231 sound serials, of which around a t... more Between 1929 and 1956, the American film industry produced 231 sound serials, of which around a third were edited into simultaneous or later feature versions, designed variously for theatrical exhibition, television, or home video. Despite the prominence of this practice, and an upsurge in scholarship addressing sound serials’ narrational rhetoric, editorial techniques, audience demographics, and contemporary reception, featurizations remain on the margins of popular and scholarly discourses alike.
Seeking to redress this neglect, I begin with an industrial overview of sound serial featurization, which has not been well-mapped to date, to give context to three case studies that constitute the main body of the essay. These are: The Return of Chandu (1934) and Chandu on the Magic Island (1934), both adapted from the serial The Return of Chandu (Ray Taylor, Principal, 1934), and Shadow of Chinatown (Bob Hill, Victory, 1937), adapted from the 1936 serial of the same name.
Building on recent scholarly scrutiny of the differences between sound serial and ‘classical’ feature narration, distribution, and consumption, I examine featurizations as a film form in which contrasting characteristics of serials and features must somehow be reconciled. Each case study includes a short account of production and promotion, showing how these features were positioned in relation to their associated serials, followed by textual analyses of the serials’ adaptation to feature format. In the process, I question how far the classical paradigm is an appropriate benchmark against which to measure sound serials’ deviations from feature filmmaking norms.
JCMS: Journal of Cinema and Media Studies, 2023
American sound serial chapter endings frequently placed the protagonist(s) in mortal peril before... more American sound serial chapter endings frequently placed the protagonist(s) in mortal peril before the following week's installment would reveal how they evaded seemingly certain death. Frequently relying on audience memory lapse, these solutions, or "take-outs," did not always play fair. Drawing on a 20 percent sample of golden age serials (1936-1945), I analyze the narrational methods and reliability of cliff hangers and their take-outs. I propose that there are three key strategies, which I term sequential, augmented, and incompatible. I show how these categories move progressively further from the cliff hanger's nineteenth-century literary precedents and from conventions of classical Hollywood narration alike.
Journal of Film and Video, 2022
As war loomed in Europe, two big-budget allegorical fantasies offered American and Soviet viewers... more As war loomed in Europe, two big-budget allegorical fantasies offered American and Soviet viewers contrasting perspectives on home and abroad, ambition and duty, and the legitimacy of personal goals as their young protagonists pursued hazardous journeys of discovery in foreign lands. In accordance with their respective national ideologies and regulatory mechanisms, each sought to shape audience attitudes in morally and politically desirable ways. Changes wrought to their fairy-tale source material during the process of adaptation reinforced tenets of the dominant national cinema, culture, and philosophy of their day—reassuring their domestic audiences that there really is ‘no place like home(land)’.
Studies in Russian and Soviet Cinema, 2021
Film International, 2020
Published in Film International, vol. 18, no. 1, March 2020, pp. 82-88
Published in Film International, vol. 13, no. 4 (2015), pp. 6-19.
Published in Literature Film Quarterly, vol. 44, no. 1, January 2016, pp. 5-18.
Published in Film International (online edition), 30 January 2011.
Published in Schnitt, issue 55 (2009), pp. 8-11.
Quarterly Review of Film and Video, Jan 1, 2008
This essay explores some of the ways that analyzing opening titles can help us to understand the ... more This essay explores some of the ways that analyzing opening titles can help us to understand the processes by which filmmakers forge an implicit contract with their audiences. In order to do so, it makes use of a detailed case study of title sequences in the ...
Film International, Jan 1, 2007
Film International, Jan 1, 2007
Page 1. FeatureInterview www.filmint.nu | 35 Stephen Frears Master of hi-lo culture Keywords: Ste... more Page 1. FeatureInterview www.filmint.nu | 35 Stephen Frears Master of hi-lo culture Keywords: Stephen Frears, authorship, British cinema, culture, film style, narration STEPHEN FREARS, as a director is something of a paradox. ...
journal.media-culture.org.au
Based on the profusion of scholarly and populist analysis of the relationship between books and f... more Based on the profusion of scholarly and populist analysis of the relationship between books and films one could easily be forgiven for thinking that the exchange between the two media was a decidedly one-way affair. Countless words have been expended upon the subject of literary adaptation, in which the process of transforming stories and novels into cinematic or televisual form has been examined in ways both general and particular. A relationship far less well-documented though is that between popular novels and the films that have spawned them. With the notable exception of Randall D. Larson's valuable Films into Books, which is centred mainly on correspondence with prolific writers of "novelisations", academic study of this extremely widespread phenomenon has been almost non-existent. Even Linda Hutcheon's admirable recent publication, A Theory of Adaptation, makes scant mention of novelisations, in spite of her claim that this flourishing industry "cannot be ignored" (38).
Screening the past, Jan 1, 2006
There were things that could be done with film, it was crazy not to do them.
Screen, Jan 1, 2006
What determines the selection of films that end up on the screens of UK multiplexes? Time and aga... more What determines the selection of films that end up on the screens of UK multiplexes? Time and again, cinema-goers question why so many venues all show the same thing, despite a low average seat occupancy, whilst other movies struggle to find a place on UK screens. The answer lies less in the range of films that are produced than in the business practices of the distribution and exhibition sectors. These practices have received far less public scrutiny than those of the production sector, yet they are critical in shaping the choice of films available for public consumption.
Senses of Cinema, Jan 1, 2005
Published in Senses of Cinema, issue 36, July 2005, as part of the Great Directors series.
Published in Senses of Cinema, issue 34, January-March 2005.
Published in Senses of Cinema, issue 32, July-September 2004.
Senses of Cinema, Jan 1, 2008
Film Title Sequences: A Critical Anthology, 2021
The first two decades of the twenty-first century have seen significant developments in film titl... more The first two decades of the twenty-first century have seen significant developments in film titling trends. The most notable, with the most far-reaching implications for design strategy and audience experience alike, has been a rapid shift towards placing all or most of the credits at the end of the film-rather than at or near the start, as was the dominant practice during the twentieth century. In theatrical features, it would seem that the opening title sequence as an apparatus for easing and regulating the viewer's transition into the diegetic world is fast becoming an endangered species. Fewer and fewer films employ an opening title sequence at all and, of those that do, the majority adheres to a new norm characterised by brevity and minimalism.
To begin to appreciate the ways in which lighting can shape the ways we respond to a film, consid... more To begin to appreciate the ways in which lighting can shape the ways we respond to a film, consider the scene in Alfred Hitchcock 's Suspicion (1941) where a young wife (Joan Fontaine) lies ailing in her bed while her mysterious newlywed husband (Cary Grant) slowly ascends the stairs to her room, advancing through a spiderweb of foreboding shadows. On a small tray he carries a glass of milk that glows with an eerie luminosity. The scene invites us to wonder whether he might be trying to poison his wife. Such mistrust assuredly does not arise from the popular actor's star image; instead, the ominous shadows cast across the set and the covert placement of a light bulb inside the glass combine to arouse unease.
Chapter in Alexander Böhnke, Rembert Hüser & Georg Stanitzek (eds.), Das Buch zum Vorspann: ‘The ... more Chapter in Alexander Böhnke, Rembert Hüser & Georg Stanitzek (eds.), Das Buch zum Vorspann: ‘The Title is a Shot’
(Berlin: Vorwerk 8, 2006), pp. 90-101.
Published in Christopher Partridge (ed.), The Occult World (London: Routledge, 2015), pp. 459-63.
ReFocus: The Films of Paul Schrader, 2020
Published in ReFocus: The Films of Paul Schrader, edited by Michelle E. Moore and Brian Brems (Ed... more Published in ReFocus: The Films of Paul Schrader, edited by Michelle E. Moore and Brian Brems (Edinburgh University Press, 2020), pp. 33-50.
The Juniper Tree (BFI Blu Ray Booklet), 2023
Published in The Juniper Tree (British Film Institute, Blu Ray Booklet, 2023)
Les Enfants Terribles (BFI Blu Ray), 2021
Published in Les Enfants Terribles (British Film Institute, Blu Ray Booklet, 2021)
The Rainer Werner Fassbinder Collection vol. II (Arrow Video), 2021
Published in The Rainer Werner Fassbinder Collection vol. II (Arrow Video, Blu Ray Booklet, 2021)
Invasion of the Body Snatchers (BFI Blu Ray), 2021
Published in Invasion of the Body Snatchers [1956] (British Film Institute, Blu Ray Booklet, 2021... more Published in Invasion of the Body Snatchers [1956] (British Film Institute, Blu Ray Booklet, 2021), pp. 1-9.
After the Fox (BFI Blu Ray), 2020
Published in After the Fox (British Film Institute, Blu Ray Booklet, 2020).
Phase IV (101 Films Blu Ray), 2020
Blu Ray booklet notes for Phase IV [Saul Bass, 1974] (101 Films, 2020), pp. 4-11.
Orphee (BFI Blu Ray), 2019
Published in Orphée (British Film Institute, Blu Ray Booklet, 2019), pp. 6-11.
The Comfort of Strangers (BFI Blu Ray), 2018
Published in The Comfort of Strangers (British Film Institute, Blu Ray Booklet, 2018), pp.1-8.
The Comfort of Strangers (BFI Blu Ray), 2018
Published in The Comfort of Strangers (British Film Institute, Blu Ray Booklet, 2018), pp.16-19.
La Belle et La Bete (BFI Blu Ray), 2018
Blu Ray booklet notes for La Belle et la Bete (British Film Institute, 2018), pp. 1-5.
The Dust Jacket: The Magazine of the London Old Boys' Book Club, 2021
Published in The Dust Jacket: The Magazine of the London Old Boys' Book Club, issue 7, March 2021... more Published in The Dust Jacket: The Magazine of the London Old Boys' Book Club, issue 7, March 2021, pp. 13-15.
Sight & Sound, 2020
Published in Sight & Sound, vol. 31, issue 1, winter 2020-21, p. 153.
Published in Senses of Cinema, issue 32, July-September 2004.
Published in Senses of Cinema, issue 46, January-March 2008.
The Dust Jacket, 2020
Published in The Dust Jacket: The Magazine of the London Old Boys' Book Club, Issue 4, June 2020.
Film & History, 2021
Published in Film & History, vol. 51, no. 2, winter 2021, pp. 65-55.
Senses of Cinema, 2020
Published in Senses of Cinema, Issue 94, April 2020. This is an open access publication. Please v... more Published in Senses of Cinema, Issue 94, April 2020. This is an open access publication. Please visit the journal web site to view.
Film & History, 2018
Published in Film & History, vol. 48, no. 2, winter 2018, pp. 23-25.
Published in Journal of British Cinema and Television, vol. 14, no. 4, October 2017, pp. 527-29.
Published in Journal of Film and Video, vol. 68, no. 2, summer 2016, pp. 61-62.
Journal of Film and Video, 2016
Published in Kamera, 12 November 2015.
Published in The Popular Cultural Studies Journal, vol. 3, nos. 1 & 2 (2015), pp. 576-79.
Historical Journal of Film, Radio and Television, 2014
Senses of Cinema, Mar 2014
Design and Culture, Nov 1, 2012
Review of "Clint Eastwood and Issues of American Masculinity" by Drucilla Cornell, "Aim for the H... more Review of "Clint Eastwood and Issues of American Masculinity" by Drucilla Cornell, "Aim for the Heart: The Films of Clint Eastwood" by Howard Hughes, and "Clint Eastwood: Evolution of a Filmmaker" by John H. Foote. Published in Senses of Cinema, issue 55 (2010).
Published in Historical Journal of Film, Radio and Television, vol. 30, no. 2, April 2010, pp. 24... more Published in Historical Journal of Film, Radio and Television, vol. 30, no. 2, April 2010, pp. 244-46.
Published in Film International, issue 43, vol. 8, no. 1 (2010), pp. 84-85.
Published in Bright Lights Film Journal, issue 66, November 2009.
Published in Scope, issue 14 (new series), June 2009.
Design and Culture, Jan 1, 2009
Film International (online edition), Nov 14, 2012
Picturehouse Spotlight, 2018
Published in Picturehouse Spotlight, 12 November 2018
Published in Picturehouse Spotlight, 24 November 2017
Published in Picturehouse Spotlight, 19 September 2017
MA Thesis, University of Kent
PhD Thesis, University of East Anglia